The main body of the LCC and its practical application, including all 4 published versions of Book 1 with their inserts: the 1959 tan cover; the 1959 light green cover Japanese edition; the 1970‘s white cover, which adds an illustrated River Trip to the 1959 edition, and the currently available Fourth Edition, 2001.

The authorization code is the first word on Page 198 of the Fourth Edition of the LCCTO.

Forum rulesAn open letter from Alice Russell. June 21, 2011, Brookline, Massachusetts.1. DO NOT make insulting, mean spirited remarks about anyone or their work; there are a plethora of sites where you can rant unfettered. If you attack someone personally, your comments will be removed. You can post it, but I'm not paying for it. Go elsewhere, and let those artists who are actually interested in discussion and learning have the floor. 2. There will be NO posting of or links to copyrighted material without permission of the copyright owner. That's the law. And if you respect the work of people who make meaningful contributions, you should have no problem following this policy. 3. I appreciate many of the postings from so many of you. Please don't feel you have to spend your time "defending" the LCC to those who come here with the express purpose of disproving it. George worked for decades to disprove it himself; if you know his music, there's no question that it has gravity. And a final word: George was famous for his refusal to lower his standards in all areas of his life, no matter the cost. He twice refused concerts of his music at Lincoln Center Jazz because of their early position on what was authentically jazz. So save any speculation about the level of him as an artist and a man. The quotes on our websites were not written by George; they were written by critics/writers/scholars/fans over many years. Sincerely, Alice

To paraphrase and explore the implications of the material in the 1959 edition, appended page E:

Scale degree modulation is the technique uses for constructing a pan-modal melody in the parent Lydian Chromatic Scale, the one to which the melody is being related.

Scale Degree Modulation is based on the fact that each of the 12 tones of a Lydian Chromatic Scale can be one of 12 scale degrees in any of the 12 LC scales. The tonal order chart, the interactive circle of fifths, the interval chart, or chart A illustrates which scale degree that might be. For example 'E' (pc 4) is C LC iii or G LC vi. Scanning Chart A in C, we see that E occurs in LYD, LA, Lb7, AA, AD, & ADB. The 'Lydian Chromatic Order of Tonal Gravity' chart indicates that in the C LC scale, E is introduced as III at the 7-tone order. In the F LC at VII.

In addition E occurs in each of the C horizontal scales, of which their are 12 sets as well.

In Russells example (1959 pE), he uses the tonic tone of the prevailing tonality to modulate, by assigning it a position in the next predetermined horizontal scale. A good entry level strategy.

In a free interpretation for improvisational and/or compositional purposes, the modulatory tone (e.g., the 'money tone' of a melodic gesture, may be assigned to any degree of any of the 11 scales of any LC scale.

I tend to choose color tones for a gesture, e.g., to define a LYD, the 3d, #4 & 7, in addition to the tonic.

To insure a shape to the structure, it is well to keep in mind whether the modulations are moving to the flat side or the sharp side. (see chespernevins posts in this regard). For example moving the LCs to the flat side for the first 2/3s, then to the sharp side for the last 1/3, would given a nice overall shape to the piece or section. (i.e., the 'Golden Mean.')

Adding changes? Compose a melodically coherent bass line under the resultant melodic structure (or in an improvisatory situation, hire Charlie Haden). A little counterpoint could help here.

"How 'bout an example," you ask? Gulp! OK. My midi isn't hooked up, so this make take a minute. I think I'll take motherlode's advice, and start with a feeling and follow it.